S.E. Lindberg rating: 5 of 5 stars
Weirdbook is highly recommended; a menu of high quality horror tales that span most genres.
Weirdbook is one of a few Weird Fiction magazines that persist. Weirdtales is likely the most famous, which emerged in the Pulp Era of the early Twentieth Century and comprised horror, dark fantasy, and Sword & Sorcery; Weirdtales exchanged hands over the decades and was carried/edited in the late 1980’s by John Betancourt and Darrell Schweitzer who both play a role in Weirdbook (Betancourt as Publisher & Executive Editor via Wildside Press, and Schweitzer as an anchoring author). In 1967 W. Paul Ganley edited Weirdbook magazine, its compelling run ceased in 1997 (Back issues available via Ganley’s ebay store). A century from its origins, Weird Fiction still has followers, but its identity is split across myriad markets/venues; in 2015, editor Doug Draa partnered with John Betancourt of Wildside Press to reboot the magazine with Weirdbook #31 (review link). [Fanboy aside: I was able to meet Ganley and Schweitzer at the World Fantasy Convention 2016 that I was blessed to moderate and panel a bit].
Calling Weirdbook #35 a "magazine" seems to minimize this ~200page book which is more a quality anthology. It has 22 contributing authors (18 stories, and 4 sets of poetry) and there are no reviews/advertising/articles one expects in a magazine. Skelos comes to mind as a contemporary magazine (newly kickstarted) which has those non-story features (also worth subscribing to).
In any event, Weirdbook #35 is entertaining and a great value. Douglas Draa continues to share myriad adventures by new & seasoned authors with milieus running the gamut of weird-dark fantasy. It promises that readers will experience some flavor of horror. Expect equal parts ghost stories, psychedelic trips, gory murders, thoughtful introspections, and battles with the unknown! My favorite is the last entry from Darrell Schweitzer’s The Take and the Teller, but I enjoyed most of these (I star/earmark the ones below that I can’t get out of my head and will reread). I’m usually mired in Sword & Sorcery, and reading Weirdbook allows me to branch out. I encourage others to do the same. Get Weirdbook. Don’t trust my “stars/earmarks” but find your own amongst the menu.
TABLE OF CONTENTS:
1. The Pullulations of the Tribe by Adrian Cole, is gothic noir tale in which the sleuths must free hostages; more fun than horrific
3. Mother of my Children by Bruce Priddy: short and weird dose of arachnids
6. K.A. Opperman's series of gothic poems re: “Carpathia” are a nice touch.
7. Poetry “translated” by Fredrick J Mayer called Taken from the Tcho Tcho People’s Holy Codex is Elditch/Lovecraftian verses that didn’t make much sense to me (but I’m no acolyte yet, more advanced students of the occult may understand)
8. Revolution a' la Orange by Paul Lubaczewski has nice historical context (1672 Dutch republic and William III) but too many scene breaks
10. * Stanley B. Webb's Pyrrhic Crusade is unique Sword ‘n’ Sorcery; the pacing was jarring at first, but the tale came together really well and covers a lot of ground
11. Charles Wilkinson's futuristic Migration of Memories is reminiscent of Philip Dick (Do Androids Dream of Electric Sheep) but a touch more realistic than trippy
12. Maquettes by MacKintosh is WWII, Nordic sea horror. Fun variation.
13. The Dinner Fly poem by James Matthew Byers could be paired with Priddy’s story above
14. In the Shadows by JS Watts, offers a new perspective on being depressed (contemporary horror)
17. Janet Harriett's To Roam the Universe, Forgotten and Free is a heart wrenching, contemporary ghost story"
18. Lily Luchesi's Rejuvenate is a short circus horror, which felt like a great outline for a larger novel
19. * Crescentini's Vigil Night is dark fantasy at its finest; enough necromancy and madness for an entire army of knights
20. Dead Clowns for Christmas by L.J. Dopp – mashing up the movies “Killer Clowns form Outerspace” and “Chuckie” yields something like this
The Tale and the Teller – Darrell Schweitzer, opens this way:
“Who is the teller and to whom is the story told? Listen: there are voices, and the wind, and the sighing of the sea. Listen.
If you make your way a hundred miles up the Merimnian coast, you come to the Cape of Mournful Remembrance, and, beyond that, pass into a curious country, where high tablelands reach to the edge of the sea, the drop off sharply, revealing black, granite cliffs.
Now white ruins protrude out of the earth like, old, broken teeth, but once a great city stood there, called Belshadihphon, a name which means “City of a Thousand Moons.” So it was: in the days of the Empire of the Thousand Moons, it was the capital of half the world. Yet there remain only ghosts, and wisps of wind; and, of nights, when the tide rushes into the caves that honeycomb the whole landscape, you can hear millions of souls crying out, all those who died in the wars that brought the place glory. Not for sorrow, not for vengeance. Just crying, wordlessly, faintly, like tide and wind.
It was called the City of a Thousand Moons because, in the great times, the very gods appeared on brilliant nights, rising out of the sea in their luminous robes, wearing masks like full moons, drifting up the cliffs and onto the tabeland, to walk among the pillared palaces of the great city, some of them even, or so it is claimed in stories like this one, to give counsel to the emperor on his throne.
You can still see the moon-masks. They have turned to stone and lie across the beach and the tableland like so many scattered coins.
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